Poets Cynthia Marie Hoffman and Sarah Kain Gutowski will read from their collected works, with an emphasis on their newest respective collections, both of which are cohesively themed (Cynthia’s is a memoir in prose poems, Sarah’s is a fabulist narrative in poems).
Sarah and Cynthia first met more than 20 years ago in London, where they were both active in the open mic scene. In this In Conversation event they’ll talk about both creativity and process: the structures of their respective collections as book-length “projects,” how their own journeys with OCD/anxiety have impacted their work; form and the relationship of form to writing in other genres (specifically how their recent collections opened the door for prose), and the benefits of joining forces this past year on book tour and book promotions.
Free
About Cynthia
Cynthia Marie Hoffman is the author of four collections of poetry, most recently Exploding Head, an OCD memoir in prose poems. Essays in TIME, The Sun, Lit Hub, and elsewhere. Poems in Electric Literature, The Believer, The Indianapolis Review, and elsewhere. Cynthia lives in Madison, WI. www.cynthiamariehoffman.com.
About Sarah
Sarah Kain Gutowski is the author of The Familiar, a fabulist narrative-in-poems about female existential crisis, and Fabulous Beast: Poems. Her poetry has appeared in various print and online journals, including The Threepenny Review, Painted Bride Quarterly, and The Southern Review. With interdisciplinary artist Meredith Starr, she is co-creator of Every Second Feels Like Theft, a conversation in cyanotypes and poetry, and It’s All Too Much, a limited-edition audio project. A member of the National Book Critics Circle, her criticism has been published by Colorado Review, Calyx: A Journal of Art and Literature by Women, and New York Journal of Books. http://www.sarahkaingutowski.com.
Multi-lingual poets Dzvinia Orlowsky and María Luisa Arroyo Cruzado will read from their respective bodies of work and discuss their poetry and creative processes. While their relationship started as one of mentor and student, they now call one another cherished friends with a shared passion for exploring how primary languages shape identity and existence.
Of Dzvinia, María Luisa says: “I was researching MFA programs with poets as mentors who would take the cultural languages of my experiences seriously, who would understand that some of my poems code-switched in Puerto Rican Spanish or German or Farsi were inspired by real relationships. A narrative poet, I immediately connected with Dzvinia’s online faculty bio and the lyrical pacing of her poems. Imagine my exponential joys in working with Dzvinia as my workshop leader who startled me and my peers with her uncannily spiritual way of responding to the heat in some of our lines and her gentle weeding of words that muffled the music in a poem.”
Of María Luisa, Dzvinia says: “María Luisa’s writing continues to move me with its depth and courage, imbued with the cultural language of her experiences and a rare sensitivity to the demands of storytelling. Her lyrical narratives delve into profound themes: grappling with familial violence, witnessing eruptions of public and political violence, and reflecting on the complex interplay of gender roles and cultural identity. I am drawn to her aspiration to connect with the universe on a spiritual level, seeking bonds that transcend Immediate reality, and I look forward to exploring in conversation how these shared ambitions shape our work.”
Dzvinia Orlowsky,a Pushcart Prize poet, translator, a Four Way Books founding editor, has authored seven poetry collections with Carnegie Mellon University Press including Bad Harvest, a 2019 Massachusetts Book Awards “Must Read” in Poetry and her most recent, Those Absences Now Closest. She is a recipient of a Massachusetts Cultural Council Poetry Grant, a New England Poetry Club’s Sheila Motton Book Award, co-recipient of a 2016 National Endowment for the Arts, and her first collection, A Handful of Bees, was reprinted as part of the Carnegie Mellon University Press Classic Contemporary Series. Her poem sequence “The (Dis)enchanted Desna” was a winner of the 2019 New England Poetry Club’s Samuel Washington Allen Prize selected by Robert Pinsky.
Ali Kinsella and Dzvinia’s co-translations from the Ukrainian of Natalka Bilotserkivets’s Eccentric Days of Hope & Sorrow was a finalist for the 2022 Griffin International Poetry Prize, the 2022 Derek Walcott Poetry Prize, ALTA’s 2022 National Translation Award and winner of the 2020-2021 AAUS Prize for Translation. They received a 2024 NEA Translation Fellowship for their translation of Halyna Kruk’s Lost in Living (Lost Horse Press, 2024), and their co-translation of Oleksander Dovzhenko’s novella, Enchanted Desna, is forthcoming from Lost Horse Press in 2025.
About María Louisa
Born in Manatí, Puerto Rico and raised in Springfield, MA, María Luisa Arroyo Cruzado received a BA from Colby College and an MA from Tufts University in German, her third language. The opportunity to work with poets Dzvinia Orlowsky and Laure-Anne Bosselaar under poet Meg Kearney’s transformational leadership led her to pursue her MFA at Pine Manor College (July 2015). Currently she is a Clark Diversity Fellow joyfully pursuing a PhD in Comparative Literature at Binghamton University.
María Luisa writes poetry and prose that code-switch between American English, Puerto Rican Spanish, German and Farsi, the cultural languages of her experiences. Her collections include Thought Here Would Cure Me of There (Lily Poetry Review Books, 2024), Landscapes: photos & poems (MultiCreative Wisdom, 2023), Resistencia: Resilience: essays & poems (Human Error Publishing, 2023), Destierro Means More than Exile: a tribute to 32 women poets (2018); and Gathering Words: recogiendo palabras (Bilingual Press/Editorial Bilingüe, 2008). In 2024, she curated and published Pán•o•ply, the inaugural MultiCreative Wisdom anthology featuring creative writers who identify as women or non-binary; and as BIPOC.
For 18+ years of facilitating poetry workshops and readings, many in partnership with the Springfield City Library, she was named the inaugural Poet Laureate of Springfield, MA (2014-2016) and a New England Public Radio’s Arts and Humanities recipient (2016). In May 2024, she received an honorary degree in fine arts from Smith College in recognition of her impact as a multilingual Boricua poet and intersectional feminist educator.
Poets Carolyn Oliver and Hannah Larrabee will read from their respective collections and discuss both creativity and craft. Like us, Carolyn read Hannah’s collection and asked herself–more than once–how did they do that? And Hannah wants to know how Carolyn’s poems take us places beyond reach and into the warping of spacetime.
These poets share a reverence for science and deep wonder for–and curiosity in–the world (both seen and unseen). Hannah says: “We’re hoping to geek out a bit about science and plan to talk through poems that explore the spellbinding world around us–here, on Earth, and in the cosmos.”
Carolyn adds: “It’s such luck to call Hannah my friend, and I look forward to talking about space and darkness and flowers (and perhaps a tree frog or two?) with this kind and wise and luminous poet.”
Carolyn Oliver is the author of The Alcestis Machine (Acre Books, 2024), Inside the Storm I Want to Touch the Tremble (University of Utah Press, 2022; selected for the Agha Shahid Ali Prize), and three chapbooks, including, most recently, Night Ocean (Seven Kitchens Press, 2023). Her poems appear or are forthcoming in TriQuarterly, Image, Poetry Daily, Southern Indiana Review, Consequence, and elsewhere. She lives in Massachusetts.
About Hannah
Hannah Larrabee’s Wonder Tissue won the Airlie Press Poetry Prize and her new book—The Observable Universe—was longlisted for a Massachusetts Book Award. Hannah was selected by NASA to write poetry for the Webb Telescope program at Goddard Space Center and she participated in the Arctic Circle Residency in Svalbard. She’s had poems and reviews in Whale Road, EcoTheo, Adirondack Review, Glass Poetry Journal, among others. Hannah lives in Salem, Massachusetts and is an editor at Nixes Mate Review.
Poets and co-founders of Bear Review, Marcus Myers & Rivka Clifton have grown together as poets, even as their own work is aesthetically different. As Marcus says, “This sharing and cheering each other on, discussing craft and aesthetics, swapping and giving books with and to each other has led, in some ways directly and in others indirectly, to our creating Bear Review.”
We welcomed poets Karen Rigby and Danika Stegeman to The Notebooks Collective for an evening of poetry and conversation. The discussion explored musings on second books, ars poetica, and more!
Rivka and I have a unique bond as poets and co-editors. We met in 2012, during Rivka’s first and my last year in the MFA program at UMKC. Before, during and after we formed Bear Review, we’ve shared work and encouraged one another. This sharing and cheering each other on, discussing craft and aesthetics, swapping and giving books with and to each other has led, in some ways directly and in others indirectly, to our creating Bear Review. While co-editing Bear Review, we learned each of our appetites and affinities moved us to appreciate poets from very different parts of the contemporary U.S. poetic fractal. Rivka’s aesthetic choices often led us to accepting more avant garde / experimental poems, which I appreciated or learned to appreciate, while mine led us to poems expressive of personal experiences. I can only speak for myself, but I definitely noticed Rivka’s tastes making an impression on me, in particular her brave embrace of the surreal, abject and grotesque.
Rivka
When I met Marcus, I saw poetry as a way to escape my body. I didn’t know the term dysphoria then, but poetry was a way for me to be other than what I was. When I read Marcus’ poetry, I admired how deeply he looked into his own life, how he was unafraid to face it. The more medical transitioning has aligned my body with my self-image, the less I feel compelled to run away through poetry, the more compelled I feel to see my experience as continuous with my self as a writer and artist. Marcus has always been a teacher for me in that regard; his poems laid the groundwork for me to be more autobiographical. Poetry feels most itself when it lands somewhere between autobiography and completely disconnected from the writer’s life. I believe having this conversation around aesthetics, subject matter and poetic arcs will be help clarify things for me as a trans writer and may be beneficial for other writers thinking through their aesthetics as well.
This event is Free, with a suggested donation of $5.
Marcus Myers lives in Kansas City, Missouri, where he teaches and serves as co-founding and managing editor of Bear Review. Author of the chapbook Cloud Sanctum (2022), his poems have appeared in or are forthcoming from The Common, Contemporary Verse 2, The Florida Review, Fourteen Hills, The Los Angeles Review, Mid-American Review, RHINO, Salt Hill, Southeast Review, and elsewhere.
Rivka Clifton
Rivka Clifton is the author of Muzzle (JackLeg Press) as well as the chapbooks MOT and Agape (from Osmanthus Press). She has work in: Pleiades, Guernica, Black Warrior Review, Colorado Review, and other magazines.
We welcomed poets Eugenia Leigh & Diannely Antigua to The Notebooks Collective for an evening of conversation about creativity and connection. We are thrilled to host this In Conversation, in which the poets discussed their newest books, Bianca and Good Monster respectively, among other things.
Writers Jessica Johnson & Tyler Mills join the Notebooks Collective to discuss their new memoirs, Mettlework and The Bomb Cloud, which both invoke their family history and how the personal and the politic intertwine.
“…The resulting journey encompasses Johnson’s early memories, the story of the earth told in the language of geology, bits of vivid correspondence, a mothering manual from the early twentieth century, and the daily challenges of personal and collective care in a lonesome-crowded Pacific wonderland. Mettlework traces intergenerational failures of homemaking, traveling toward presence and relationship amid the remains of extractive industry and unsustainable notions of family.”
“A shimmering memoir defined equally by its lyrical prose and profound historical implications, The Bomb Cloud untangles the intersecting strands of information running through a family mystery shaped by national secrets…Extending from the poems in Mills’ Hawk Parable, this memoir wrestles with her grandfather’s likely involvement in a top-secret bomb wing that trained in the New Mexico desert, taking the reader to the very edge of the unknowable.”
We welcomed poets Leah Umansky & Melissa Fite Johnson to The Notebooks Collective to celebrate their new books on May 14, 2024. They talked about their love of pop culture, forms, how they cultivate their writing practice, and more.
“What does it mean to live in a country at war with itself–historically, spiritually, politically? Where does this sickness originate? In poems both personal and sweeping in scope, Umansky opens the door to all the possible answers, pointing outward but also in, to the twists and turns of our collective psyche.”
“Midlife Abecedarian is a nostalgic collection that takes the reader on a journey through time. It provides a template for a life well-lived, even if you’re only halfway through. Conjuring memories and a sense of satisfaction and comfort, Midlife Abecedarian is a map to things remembered and things best left forgotten.”
On November 7, 2023, the Notebooks Collective hosted Michael Kleber-Diggs & Danusha Laméris. Each read from their own poetry collections and discussed their friendship, poetry craft, what it means to revise and more.
